[edit] Renaissance

Main article: Renaissance art

The Renaissance is characterized by a focus on the arts of Ancient Greece and Rome,
which led to many changes in both the technical aspects of painting and sculpture, as well
as to their subject matter. It began in Italy, a country rich in Roman heritage as well as
material prosperity to fund artists. During the Renaissance, painters began to enhance the
realism of their work by using new techniques in perspective, thus representing three
dimensions more authentically. Artists also began to use new techniques in the
manipulation of light and darkness, such as the tone contrast evident in many of Titian's
portraits and the development of sfumato and chiaroscuro by Leonardo da Vinci.
Sculptors, too, began to rediscover many ancient techniques such as contrapposto.
Following with the humanist spirit of the age, art became more secular in subject matter,
depicting ancient mythology in addition to Christian themes. This genre of art is often
referred to as Renaissance Classicism. In the North, the most important Renaissance
innovation was the widespread use of oil paints, which allowed for greater colour and
intensity.

[edit] From Gothic to the Renaissance

During the late 13th and early 14th centuries, much of the painting in Italy was Byzantine
in Character, notably that of Duccio of Siena and Cimabue of Florence, while Pietro
Cavallini in Rome was more Gothic in style.

In 1290 Giotto began painting in a manner that was less traditional and more based upon
observation of nature. His famous cycle at the Scrovegni Chapel, Padua, is seen as the
beginnings of a Renaissance style.

Other painters of the 14th century were carried the Gothic style to great elaboration and
detail. Notable among these painters are Simone Martini and Gentile da Fabriano.

In the Netherlands, the technique of painting in oils rather than tempera, led itself to a
form of elaboration that was not dependant upon the application of gold leaf and
embossing, but upon the minute depiction of the natural world. The art of painting
textures with great realism evolved at this time. Dutch painters such as Jan van Eyck and
Hugo van der Goes were to have great influence on Late Gothic and Early Renaissance
painting.

[edit] Early Renaissance

The ideas of the Renaissance first emerged in the city-state of Florence. The sculptor
Donatello returned to classical techniques such as contrapposto and classical subjects like
the unsupported nude — his second sculpture of David was the first free-standing bronze
nude created in Europe since the Roman Empire. The sculptor and architect Brunelleschi
studied the architectural ideas of ancient Roman buildings for inspiration. Masaccio
perfected elements like composition, individual expression, and human form to paint
frescoes, especially those in the Brancacci Chapel, of surprising elegance, drama, and
emotion.

A remarkable number of these major artists worked on different portions of the Florence
Cathedral. Brunelleschi's dome for the cathedral was one of the first truly revolutionary
architectural innovations since the Gothic flying buttress. Donatello created many of its
sculptures. Giotto and Lorenzo Ghiberti also contributed to the cathedral.

[edit] High Renaissance

High Renaissance artists include such figures as Leonardo da Vinci, Michelangelo

Buonarroti, and Raffaello Santi.

The 15th-century artistic developments in Italy (for example, the interest in perspectival
systems, in depicting anatomy, and in classical cultures) matured during the 16th century,
accounting for the designations “Early Renaissance” for the 15th century and “High
Renaissance” for the 16th century. Although no singular style characterizes the High
Renaissance, the art of those most closely associated with this Period—Leonardo
daVinci, Raphael, Michelangelo, and Titian—exhibits an astounding mastery, both
technical and aesthetic. High Renaissance artists created works of such authority that
generations of later artists relied on these artworks for instruction. These exemplary
artistic creations further elevated the prestige of artists. Artists could claim divine
inspiration, thereby raising visual art to a status formerly given only to poetry. Thus,
painters, sculptors, and architects came into their own, successfully claiming for their
work a high position among the fine arts. In a sense, 16th- century masters created a new
profession with its own rights of expression and its own venerable character. .

[edit] Northern Renaissance

Another equally important but less well known figure of the Renaissance is Jan van
Eyck (1366-1441), a Flemish painter often attributed with "bringing the Renaissance
North." (see: Early Renaissance paintings).

Hieronymus Bosch (1450?-1516), a Dutch painter, is another important figure in the

Northern Renaissance. In his paintings, he used religious themes, but combined them
with grotesque fantasies, colourful imagery, and peasant folk legends. His paintings often
reflect the confusion and anguish associated with the end of the Middle Ages.

Northern Renaissance art was not as concerned with perspective and the figure as that of
the Italian Renaissance. The cornerstone of the Northern Renaissance was the
development of oil painting.

Time Period:

• Italian Renaissance — Late 14th century to Early 16th century

 • Northern Renaissance — 16th century

[edit] Mannerism, Baroque and Rococo

Main articles: Mannerism, Baroque, and Rococo

In European art, Renaissance Classicism spawned two different movements—

Mannerism and the Baroque. Mannerism, a reaction against the idealist perfection of
Classicism, employed distortion of light and spatial frameworks in order to emphasize the
emotional content of a painting and the emotions of the painter. The work of El Greco is a
particularly clear example of Mannerism in painting during the late 16th, early 17th
centuries. Baroque art took the representationalism of the Renaissance to new heights,
emphasizing detail, movement, lighting, and drama in their search for beauty. Perhaps the
best known Baroque painters are Rembrandt, Peter Paul Rubens, Diego Velázquez, and
Caravaggio. Baroque art is often seen as part of the Counter-Reformation— the artistic
element of the revival of spiritual life in the Roman Catholic Church. Additionally, the
emphasis that Baroque art placed on grandeur is seen as Absolutist in nature. Louis XIV
said, "I am grandeur incarnate", and many Baroque artists served kings who tried to
realize this goal. However, the Baroque love for detail is often considered overly-ornate
and gaudy, especially as it developed into the even more richly decorated style of
Rococo. This can also be seen in the ornate styles of lineography. After the death of Louis
XIV, Rococo flourished for a short while, but soon fell out of favor. Indeed, disgust for
the ornateness of Rococo was the impetus for Neoclassicism.

Time Period:

• Mannerism — 16th century

• Baroque — 17th century to 18th century
• Rococo — Mid-18th century

[edit] Neoclassicism, Romanticism, Academism and

Realism
Main articles: Neoclassicism, Romantic art, Academic art, and Realism (arts)

As time passed, many artists were repulsed by the ornate grandeur of these styles and
sought to revert to the earlier, simpler art of the Renaissance, creating Neoclassicism.
Neoclassicism was the artistic component of the intellectual movement known as the
Enlightenment, which was similarly idealistic. Ingres, Canova, and Jacques-Louis David
are among the best-known neoclassicists.[4]

Just as Mannerism rejected Classicism, so did Romanticism reject the ideas of the
Enlightenment and the aesthetic of the Neoclassicists. Romantic art focused on the use of
color and motion in order to portray emotion, but like classicism used Greek and Roman
mythology and tradition as an important source of symbolism. Another important aspect
of Romanticism was its emphasis on nature and portraying the power and beauty of the
natural world. Romanticism was also a large literary movement, especially in poetry.
Among the greatest Romantic artists were Eugène Delacroix, Francisco Goya, J.M.W.
Turner, John Constable, Caspar David Friedrich, Thomas Cole, and William Blake.[5]

Most artists attempted to take a centrist approach which adopted different features of
Neoclassicist and Romanticist styles, in order to synthesize them. The different attempts
took place within the French Academy, and collectively are called Academic art. Adolphe
William Bouguereau is considered a chief example of this stream of art.

In the early 19th century the face of Europe, however, became radically altered by
industrialization. Poverty, squalor, and desperation were to be the fate of the new working
class created by the "revolution." In response to these changes going on in society, the
movement of Realism emerged. Realism sought to accurately portray the conditions and
hardships of the poor in the hopes of changing society. In contrast with Romanticism,
which was essentially optimistic about mankind, Realism offered a stark vision of
poverty and despair. Similarly, while Romanticism glorified nature, Realism portrayed
life in the depths of an urban wasteland. Like Romanticism, Realism was a literary as
well as an artistic movement. The great Realist painters include Jean Baptiste Siméon
Chardin, Gustave Courbet, Jean-François Millet, Camille Corot, Honoré Daumier,
Edouard Manet, Edgar Degas (both considered as Impressionists), and Thomas Eakins,
among others.

The response of architecture to industrialisation, in stark contrast to the other arts, was to
veer towards historicism. Although the railway stations built during this period are often
considered the truest reflections of its spirit – they are sometimes called "the cathedrals of
the age" – the main movements in architecture during the Industrial Age were revivals of
styles from the distant past, such as the Gothic Revival. Related movements were the Pre-
Raphaelite Brotherhood, who attempted to return art to its state of "purity" prior to
Raphael, and the Arts and Crafts Movement, which reacted against the impersonality of
mass-produced goods and advocated a return to medieval craftsmanship.

Renaissance
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This article is about the European Renaissance of the 14th-17th centuries. For the earlier
European Renaissance, see Renaissance of the 12th century. For other uses, see
Renaissance (disambiguation).

Renaissance

Topics

Architecture
Dance
Literature
Music
Painting
Philosophy
Science
Technology
Warfare
Regions
England
France
Germany
Italy
Netherlands
Northern Europe
Poland
Spain

The Renaissance (from French Renaissance, meaning "rebirth"; Italian: Rinascimento,

from re- "again" and nascere "be born"[1]) was a cultural movement that spanned roughly
the 14th through the 17th century, beginning in Italy in the late Middle Ages and later
spreading to the rest of western Europe. It encompassed a revival of learning based on
classical sources, the development of linear perspective in painting, and educational
reform. The Renaissance saw developments in most intellectual pursuits, but is perhaps
best known for its artistic aspect and the contributions of such polymaths as Leonardo da
Vinci and Michelangelo, who have inspired the term "Renaissance men".[2][3]

There is a general — though by no means unchallenged — consensus that the

Renaissance began in Tuscany in the fourteenth century.[4] Various theories have been
proposed to account for its origins and characteristics, focusing on a variety of factors,
including the social and civic peculiarities of Florence at this time, its political structure,
and the patronage of its dominant family, the Medici.[5] The Renaissance received a major
boost in the 15th century, when the Fall of Constantinople and the closing of its
university by the Ottoman Turks forced thousands of Greek scholars to flee to Italy
bringing with them the majority of the texts of Hellenic and Roman literature and law,
that survive today.[6][7][8]

The Renaissance has a long and complex historiography, and there has always been
debate among historians as to the usefulness of the Renaissance as a term and as a
historical age.[9] Some have called into question whether the Renaissance really was a
cultural "advance" from the Middle Ages, instead seeing it as a period of pessimism and
nostalgia for the classical age.[10] While nineteenth-century historians were keen to
emphasise that the Renaissance represented a clear "break" from medieval thought and
practice, some modern historians have instead focused on the continuity between the two
eras.[11] Indeed, it is now usually considered incorrect to classify any historical period as
"better" or "worse", leading some to call for an end to the use of the term, which they see
as a product of presentism.[12] The word Renaissance has also been used to describe other
historical and cultural movements, such as the Carolingian Renaissance and the Twelfth-
century Renaissance.

Contents
[hide]

• 1 Overview
o 1.1 Assimilation of Greek and Arabic knowledge
o 1.2 Social and political structures in Italy
o 1.3 The Black Death
o 1.4 Cultural conditions in Florence
• 2 The Renaissance's characteristics
o 2.1 Humanism
o 2.2 Art
o 2.3 Science
o 2.4 Religion
o 2.5 Renaissance self-awareness
• 3 The Renaissance spreads
o 3.1 The Northern Renaissance
• 4 The Renaissance's historiography
o 4.1 Conception
o 4.2 For better or for worse?
• 5 Other Renaissances
• 6 References and sources
o 6.1 References and notes
o 6.2 Sources
 • 7 See also
o 7.1 Internal Links

o 7.2 External links

Overview

Leonardo da Vinci's Vitruvian Man shows clearly the effect writers of antiquity had on
Renaissance thinkers. Based on the specifications in Vitruvius's De architectura, da Vinci
tried to draw the perfectly proportioned man.

The Renaissance was a cultural movement that profoundly affected European intellectual
life in the early modern period. Beginning in Italy, and spreading to the rest of Europe by
the 16th century, its influence was felt in literature, philosophy, art, politics, science,
religion, and other aspects of intellectual enquiry. Renaissance scholars employed the
humanist method in study, and searched for realism and human emotion in art.[13]

Renaissance thinkers sought out learning from ancient texts, typically written in Latin or
ancient Greek. Scholars scoured Europe's monastic libraries, searching for works of
antiquity which had fallen into obscurity. In such texts they found a desire to improve and
perfect their worldly knowledge; an entirely different sentiment to the transcendental
spirituality stressed by medieval Christianity.[13] They did not reject Christianity; quite the
contrary, many of the Renaissance's greatest works were devoted to it, and the Church
patronized many works of Renaissance art. However, a subtle shift took place in the way
that intellectuals approached religion that was reflected in many other areas of cultural
life.[14]

Artists such as Masaccio strove to portray the human form realistically, developing
techniques to render perspective and light more naturally. Political philosophers, most
famously Niccolò Machiavelli, sought to describe political life as it really was, and to
improve government on the basis of reason. In addition to studying classical Latin and
Greek, authors also began increasingly to use vernacular languages; combined with the
invention of printing, this would allow many more people access to books, especially the
Bible.[15]

In all, the Renaissance could be viewed as an attempt by intellectuals to study and

improve the secular and worldly, both through the revival of ideas from antiquity, and
through novel approaches to thought.

Assimilation of Greek and Arabic knowledge

Cicero
Further information: Greek scholars in the Renaissance and Latin translations of
the 12th century

The Renaissance was so called because it was a "rebirth" of certain classical ideas that
had long been lost to Western Europe. It has been argued that the fuel for this rebirth was
the rediscovery of ancient texts that had been forgotten by Western civilization, but were
preserved in the Eastern Roman Empire, some monastic libraries and in the Islamic
world, and the translations of Greek and Arabic texts into Latin.[16]

Renaissance scholars such as Niccolò de' Niccoli and Poggio Bracciolini scoured the
libraries of Europe in search of works by such classical authors as Plato, Cicero and
Vitruvius.[5] Additionally, as the reconquest of the Iberian peninsula from Islamic Moors
progressed, numerous Greek and Arabic works were captured from educational
institutions such as the library at Córdoba, which claimed to have 400,000 books.[17] The
works of ancient Greek and Hellenistic writers (such as Plato, Aristotle, Euclid, Ptolemy,
and Plotinus) and Muslim scientists and philosophers (such as Geber, Abulcasis,
Alhacen, Avicenna, Avempace, and Averroes), were reintroduced into the Western world,
providing new intellectual material for European scholars. Particularly in the case of
mathematical knowledge, some of the work of Muslim scholars was itself a compilation
or translation of the earlier work of Indian mathematicians.

Greek and Arabic knowledge was not only assimilated from Spain, but also directly from
the Greek and Arab speaking world. The study of mathematics was flourishing in the
Middle East, and mathematical knowledge was brought back by crusaders in the 13th
century.[18] The decline of the Byzantine Empire after 1204 - and its eventual fall in 1453
accompanied by the closure of its universities by the Ottoman Turks- led to a sharp
increase in the exodus of Greek scholars to Italy and beyond. These scholars brought with
them texts and knowledge of the classical Greek civilization which had been lost for
centuries in the West.[19] and they transmitted the art of exegesis. The majority of the
works of Greek Classical literature and Roman Law that survive to this day did so
through Byzantium.[7][8]

Social and political structures in Italy

A political map of the Italian Peninsula circa 1494.

The unique political structures of late Middle Ages Italy have led some to theorize that its
unusual social climate allowed the emergence of a rare cultural efflorescence. Italy did
not exist as a political entity in the early modern period. Instead, it was divided into
smaller city states and territories: the kingdom of Naples controlled the south, the
Republic of Florence and the Papal States the center, the Genoese and the Milanese the
north and west, and the Venetians the east. Fifteenth-century Italy was one of the most
urbanised areas in Europe.[20] Many of its cities stood among the ruins of ancient Roman
buildings; it seems likely that the classical nature of the Renaissance was linked to its
origin in the Roman Empire's heartlands.[21]

Italy at this time was notable for its merchant Republics, including the Republic of
Florence and the Republic of Venice. Although in practice these were oligarchical, and
bore little resemblance to a modern democracy, the relative political freedom they
afforded was conducive to academic and artistic advancement.[22] Likewise, the position
of Italian cities such as Venice as great trading centres made them intellectual crossroads.
Merchants brought with them ideas from far corners of the globe, particularly the Levant.
Venice was Europe's gateway to trade with the East, and a producer of fine glass, while
Florence was a capital of silk and jewelry. The wealth such business brought to Italy
meant that large public and private artistic projects could be commissioned and
individuals had more leisure time for study.[22]

The Black Death

One theory that has been advanced is that the devastation caused by the Black Death in
Florence (and elsewhere in Europe) resulted in a shift in the world view of people in 14th
century Italy. Italy was particularly badly hit by the plague, and it has been speculated
that the familiarity with death that this brought thinkers to dwell more on their lives on
Earth, rather than on spirituality and the afterlife.[23] It has also been argued that the Black
Death prompted a new wave of piety, manifested in the sponsorship of religious works of
art.[24] However, this does not fully explain why the Renaissance occurred specifically in
Italy in the 14th century. The Black Death was a pandemic that affected all of Europe in
the ways described, not only Italy. The Renaissance's emergence in Italy was most likely
the result of the complex interaction of the above factors.[9]

Cultural conditions in Florence

Lorenzo de' Medici, ruler of Florence and patron of arts.

It has long been a matter of debate why the Renaissance began in Florence, and not
elsewhere in Italy. Scholars have noted several features unique to Florentine cultural life
which may have caused such a cultural movement. Many have emphasized the role
played by the Medici family in patronizing and stimulating the arts. Lorenzo de' Medici
devoted huge sums to commissioning works from Florence's leading artists, including
Leonardo da Vinci, Sandro Botticelli, and Michelangelo Buonarroti.[5]

The Renaissance was certainly already underway before Lorenzo came to power; indeed,
before the Medici family itself achieved hegemony in Florentine society. Some historians
have postulated that Florence was the birthplace of the Renaissance as a result of luck,
i.e. because "Great Men" were born there by chance.[25] Da Vinci, Botticelli and
Michelangelo were all born in Tuscany. Arguing that such chance seems improbable,
other historians have contended that these "Great Men" were only able to rise to
prominence because of the prevailing cultural conditions at the time.[26]

The Renaissance's characteristics

Humanism

Main article: Renaissance humanism

Humanism was not a philosophy per se, but rather a method of learning. In contrast to the
medieval scholastic mode, which focused on resolving contradictions between authors,
humanists would study ancient texts in the original, and appraise them through a
combination of reasoning and empirical evidence. Humanist education was based on the
study of poetry, grammar, ethics and rhetoric. Above all, humanists asserted "the genius
of man... the unique and extraordinary ability of the human mind."[27]

Humanist scholars shaped the intellectual landscape throughout the early modern period.
Political philosophers such as Niccolò Machiavelli and Thomas More revived the ideas of
Greek and Roman thinkers, and applied them in critiques of contemporary government.
Theologians, notably Erasmus and Martin Luther, challenged the Aristotelian status quo,
introducing radical new ideas of justification and faith (for more, see Religion below).

Art

Main articles: Italian Renaissance painting, Renaissance painting, and

Renaissance architecture

Raphael's The School of Athens depicts illustrious contemporaries as Classical scholars,

with Leonardo central as Plato.

One of the distinguishing features of Renaissance art was its development of highly
realistic linear perspective. Giotto di Bondone (1267-1337) is credited with first treating a
painting as a window into space, but it was not until the writings of architects Filippo
Brunelleschi (1377-1446) and Leon Battista Alberti (1404–1472) that perspective was
formalized as an artistic technique.[28] The development of perspective was part of a wider
trend towards realism in the arts (for more, see Renaissance Classicism).[29] To that end,
painters also developed other techniques, studying light, shadow, and, famously in the
case of Leonardo da Vinci, human anatomy. Underlying these changes in artistic method
was a renewed desire to depict the beauty of nature, and to unravel the axioms of
aesthetics, with the works of Leonardo, Michelangelo and Raphael representing artistic
pinnacles that were to be much imitated by other artists.[30] Other notable artists include
Sandro Boticceli, working for the Medici in Florence, Donatello another Florentine and
Titian in Venice, among others.

Concurrently, in the Netherlands, a particularly vibrant artistic culture developed, the

work of Hugo van der Goes and Jan van Eyck having particular influence on the
development of painting in Italy, both technically with the introduction of oil paint and
canvas, and stylistically in terms of naturalism in representation. (for more, see
Renaissance in the Netherlands). Later, the work of Pieter Brueghel the Elder would
inspire artists to depict themes of everyday life.[31]

In architecture, Filippo Brunelleschi was foremost in studying the remains of ancient

Classical buildings, and with rediscovered knowledge from the 1st century writer
Vitruvius and the flourishing discipline of mathematics, formulated the Renaissance style
which emulated but most importantly improved on classical forms. Brunelleschi's major
feat of engineering was the building of the dome of Florence Cathedral.[32] The first
building to demonstrate this is claimed to be the church of St. Andrew built by Alberti in
Mantua. The outstanding architectural work of the High Renaissance was the rebuilding
of St. Peter's Basilica, combining the skills of Bramante, Michelangelo, Raphael,
Sangallo and Maderno.

The Roman orders types of columns are used: Tuscan, Doric, Ionic, Corinthian and
Composite. These can either be structural, supporting an arcade or architrave, or purely
decorative, set against a wall in the form of pilasters. During the Renaissance, architects
aimed to use columns, pilasters, and entablatures as an integrated system. One of the first
buildings to use pilasters as an integrated system was in the Old Sacristy (1421–1440) by
Filippo Brunelleschi.

Arches are semi-circular or (in the Mannerist style) segmental, are often used in arcades,
supported on piers or columns with capitals. There may be a section of entablature
between the capital and the springing of the arch. Alberti was one of the first to use the
arch on a monumental. Renaissance vaults do not have ribs. They are semi-circular or
segmental and on a square plan, unlike the Gothic vault which is frequently rectangular.

Science

Main article: History of science in the Renaissance

The upheavals occurring in the arts and humanities were mirrored by a dynamic period of
change in the sciences. Some have seen this flurry of activity as a "scientific revolution,"
heralding the beginning of the modern age.[33] Others have seen it merely as an
acceleration of a continuous process stretching from the ancient world to the present
day.[34] Regardless, there is general agreement that the Renaissance saw significant
changes in the way the universe was viewed and the methods with which philosophers
sought to explain natural phenomena.[35]

Science and art were very much intermingled in the early Renaissance, with artists such
as Leonardo da Vinci making observational drawings of anatomy and nature. Yet the most
significant development of the era was not a specific discovery, but rather a process for
discovery, the scientific method.[35] This revolutionary new way of learning about the
world focused on empirical evidence, the importance of mathematics, and discarding the
Aristotelian "final cause" in favor of a mechanical philosophy. Early and influential
proponents of these ideas included Copernicus and Galileo.

The new scientific method led to great contributions in the fields of astronomy, physics,
biology, and anatomy. With the publication of Vesalius's De humani corporis fabrica, a
new confidence was placed in the role of dissection, observation, and a mechanistic view
of anatomy.[35]

Religion
Alexander VI, a Borgia pope infamous for his corruption.
Main articles: Protestant Reformation and Counter-Reformation

It should be emphasized that the new ideals of humanism, although more secular in some
aspects, developed against an unquestioned Christian backdrop, especially in the
Northern Renaissance. Indeed, much (if not most) of the new art was commissioned by or
in dedication to the Church.[14] However, the Renaissance had a profound effect on
contemporary theology, particularly in the way people perceived the relationship between
man and God.[14] Many of the period's foremost theologians were followers of the
humanist method, including Erasmus, Zwingli, Thomas More, Martin Luther, and John
Calvin.

The Renaissance began in times of religious turmoil. The late Middle Ages saw a period
of political intrigue surrounding the Papacy, culminating in the Western Schism, in which
three men simultaneously claimed to be true Bishop of Rome.[36] While the schism was
resolved by the Council of Constance (1414), the fifteenth century saw a resulting reform
movement know as Conciliarism, which sought to limit the pope's power. Although the
papacy eventually emerged supreme in ecclesiastical matters by the Fifth Council of the
Lateran (1511), it was dogged by continued accusations of corruption, most famously in
the person of Pope Alexander VI, who was accused variously of simony, nepotism and
fathering four illegitimate children whilst Pope, whom he married off to gain more
power.[37]

Churchmen such as Erasmus and Luther proposed reform to the Church, often based on
humanist textual criticism of the New Testament.[14] Indeed, it was Luther who in October
1517 published the 95 Theses, challenging papal authority and criticizing its perceived
corruption, particularly with regard to its sale of indulgences. The 95 Theses led to the
Reformation, a break with the Roman Catholic Church that previously claimed hegemony
in Western Europe. Humanism and the Renaissance therefore played a direct role in
sparking the Reformation, as well as in many other contemporaneous religious debates
and conflicts.

Renaissance self-awareness
By the fifteenth century, writers, artists and architects in Italy were well aware of the
transformations that were taking place and were using phrases like modi antichi (in the
antique manner) or alle romana et alla antica (in the manner of the Romans and the
ancients) to describe their work. The term "la rinascita" first appeared, however, in its
broad sense in Giorgio Vasari's Vite de' più eccellenti architetti, pittori, et scultori Italiani
(The Lives of the Artists, 1550, revised 1568).[38][39] Vasari divides the age into three
phases: the first phase contains Cimabue, Giotto, and Arnolfo di Cambio; the second
phase contains Masaccio, Brunelleschi, and Donatello; the third centers on Leonardo da
Vinci and culminates with Michelangelo. It was not just the growing awareness of
classical antiquity that drove this development, according to Vasari, but also the growing
desire to study and imitate nature.[40]

The Renaissance spreads

In the 15th century the Renaissance spread with great speed from its birthplace in
Florence, first to the rest of Italy, and soon to the rest of Europe. The invention of the
printing press allowed the rapid transmission of these new ideas. As it spread, its ideas
diversified and changed, being adapted to local culture. In the twentieth century, scholars
began to break the Renaissance into regional and national movements, including:

• The Italian Renaissance

• The English Renaissance
• The German Renaissance
• The Northern Renaissance
• The French Renaissance
• The Renaissance in the Netherlands
• The Polish Renaissance
• The Spanish Renaissance
• Renaissance architecture in Eastern Europe

The Northern Renaissance

Main article: Northern Renaissance

The Arnolfini Portrait, by Jan van Eyck, painted 1434

The Renaissance as it occurred in Northern Europe has been termed the "Northern
Renaissance". It arrived first in France, imported by King Charles VIII after his invasion
of Italy. Another factor that promoted the spread of secularism was the Church's inability
to offer assistance against the Black Death. Francis I imported Italian art and artists,
including Leonardo Da Vinci, and built ornate palaces at great expense. Writers such as
François Rabelais, Pierre de Ronsard, Joachim du Bellay and Michel de Montaigne,
painters such as Jean Clouet and musicians such as Jean Mouton also borrowed from the
spirit of the Italian Renaissance.

In the second half of the 15th century, Italians brought the new style to Poland and
Hungary. After the marriage in 1476 of Matthias Corvinus, King of Hungary, to Beatrix
of Naples, Buda became the one of the most important artistic centres of the Renaissance
north of the Alps.[41] The most important humanists living in Matthias' court were
Antonio Bonfini and Janus Pannonius.[41] In 1526 the Ottoman conquest of Hungary put
an abrupt end to the short-lived Hungarian Renaissance.

An early Italian humanist who came to Poland in the mid-15th century was Filip
Callimachus. Many Italian artists came to Poland with Bona Sforza of Milano, when she
married King Zygmunt I of Poland in 1518.[42] This was supported by temporarily
strengthened monarchies in both areas, as well as by newly-established universities.[43]

The spirit of the age spread from France to the Low Countries and Germany, and finally
by the late 16th century to England, Scandinavia, and remaining parts of Central Europe.
In these areas humanism became closely linked to the turmoil of the Protestant
Reformation, and the art and writing of the German Renaissance frequently reflected this
dispute.[44]

In England, the Elizabethan era marked the beginning of the English Renaissance with
the work of writers William Shakespeare, Christopher Marlowe, John Milton, and
Edmund Spenser, as well as great artists, architects (such as Inigo Jones), and composers
such as Thomas Tallis, John Taverner, and William Byrd.

Poznań City Hall rebuilt from the Gothic style by Giovanni Batista di Quadro (1550-
1555).

The Renaissance arrived in the Iberian peninsula through the Mediterranean possessions
of the Aragonese Crown and the city of Valencia. Early Iberian Renaissance writers
include Ausiàs March, Joanot Martorell, Fernando de Rojas, Juan del Encina, Garcilaso
de la Vega, Gil Vicente and Bernardim Ribeiro. The late Renaissance in Spain saw writers
such as Miguel de Cervantes, Lope de Vega, Luis de Góngora and Tirso de Molina, artists
such as El Greco and composers such as Tomás Luis de Victoria. In Portugal writers such
as Sá de Miranda and Luís de Camões and artists such as Nuno Gonçalves appeared.

While Renaissance ideas were moving north from Italy, there was a simultaneous
southward spread of innovation, particularly in music.[45] The music of the 15th century
Burgundian School defined the beginning of the Renaissance in that art and the
polyphony of the Netherlanders, as it moved with the musicians themselves into Italy,
formed the core of what was the first true international style in music since the
standardization of Gregorian Chant in the 9th century.[45] The culmination of the
Netherlandish school was in the music of the Italian composer, Palestrina. At the end of
the 16th century Italy again became a center of musical innovation, with the development
of the polychoral style of the Venetian School, which spread northward into Germany
around 1600.

The paintings of the Italian Renaissance differed from those of the Northern Renaissance.
Italian Renaissance artists were among the first to paint secular scenes, breaking away
from the purely religious art of medieval painters. At first, Northern Renaissance artists
remained focused on religious subjects, such as the contemporary religious upheaval
portrayed by Albrecht Dürer. Later on, the works of Pieter Bruegel influenced artists to
paint scenes of daily life rather than religious or classical themes. It was also during the
northern Renaissance that Flemish brothers Hubert and Jan van Eyck perfected the oil
painting technique, which enabled artists to produce strong colors on a hard surface that
could survive for centuries.[46] A distinctive feature of the Northern Renaissance was its
use of the vernacular in place of Latin or Greek, which allowed greater freedom of
expression. The spread of the technology of the printing press, also invented in the North,
gave a major boost to the Renaissance, first in Northern Europe and then elsewhere.

The Renaissance's historiography

Conception

The term was first used retrospectively by the Italian artist and critic Giorgio Vasari
(1511-1574) in his book The Lives of the Artists (published 1550). In the book Vasari was
attempting to define what he described as a break with the barbarities of gothic art: the
arts had fallen into decay with the collapse of the Roman Empire and only the Tuscan
artists, beginning with Cimabue (1240-1301) and Giotto (1267-1337) began to reverse
this decline in the arts. According to Vasari, antique art was central to the rebirth of
Italian art.[47]

However, it was not until the nineteenth century that the French word Renaissance
achieved popularity in describing the cultural movement that began in the late 13th
century. The Renaissance was first defined by French historian Jules Michelet (1798-
1874), in his 1855 work, Histoire de France. For Michelet, the Renaissance was more a
development in science than in art and culture. He asserted that it spanned the period
from Columbus to Copernicus to Galileo; that is, from the end of the fifteenth century to
the middle of the seventeenth century.[48] Moreover, Michelet distinguished between what
he called, "the bizarre and monstrous" quality of the Middle Ages and the democratic
values that he, as a vocal Republican, chose to see in its character.[9] A French nationalist,
Michelet also sought to claim the Renaissance as a French movement.[9]

The Swiss historian Jacob Burckhardt (1818-1897) in his Die Kultur der Renaissance in
Italien, by contrast, defined the Renaissance as the period between Giotto and
Michelangelo in Italy, that is, the 14th to mid-16th centuries. He saw in the Renaissance
the emergence of the modern spirit of individuality, which had been stifled in the Middle
Ages.[49] His book was widely read and was influential in the development of the modern
interpretation of the Italian Renaissance.[50] However, Buckhardt has been accused of
setting forth a linear Whiggish view of history in seeing the Renaissance as the origin of
the modern world.[11]

More recently, historians have been much less keen to define the Renaissance as a
historical age, or even a coherent cultural movement. As Randolph Starn has put it,
 Rather than a period with definitive beginnings and endings and

“ consistent content in between, the Renaissance can be (and

occasionally has been) seen as a movement of practices and ideas to

”
which specific groups and identifiable persons variously responded in
different times and places. It would be in this sense a network of
diverse, sometimes converging, sometimes conflicting cultures, not a
single, time-bound culture.
—Randolph Starn[11]

For better or for worse?

Painting of the St. Bartholomew's Day Massacre, an event in the French Wars of
Religion, by François Dubois.

Much of the debate around the Renaissance has centered around whether the Renaissance
truly was an "improvement" on the culture of the Middle Ages. Both Michelet and
Burckhardt were keen to describe the progress made in the Renaissance towards the
"modern age". Burckhardt likened the change to a veil being removed from man's eyes,
allowing him to see clearly.[25]

On the other hand, many historians now point out that most of the negative social factors
popularly associated with the "medieval" period — poverty, warfare, religious and
political persecution, for example — seem to have worsened in this era which saw the
rise of Machiavelli, the Wars of Religion, the corrupt Borgia Popes, and the intensified
witch-hunts of the 16th century. Many people who lived during the Renaissance did not
view it as the "golden age" imagined by certain 19th-century authors, but were concerned
by these social maladies.[51] Significantly, though, the artists, writers, and patrons
involved in the cultural movements in question believed they were living in a new era
that was a clean break from the Middle Ages.[38] Some Marxist historians prefer to
describe the Renaissance in material terms, holding the view that the changes in art,
literature, and philosophy were part of a general economic trend away from feudalism
towards capitalism, resulting in a bourgeois class with leisure time to devote to the arts.[52]
 In the Middle Ages both sides of human consciousness--that which was turned within as that
which was turned without-- lay dreaming or half awake beneath a common veil. The veil was
woven of faith, illusion, and childish prepossession, through which the world and history were
seen clad in strange hues.
Jacob Burckhardt, The Civilization of the Renaissance in Italy

Johan Huizinga (1872–1945) acknowledged the existence of the Renaissance but

questioned whether it was a positive change. In his book The Waning of the Middle Ages,
he argued that the Renaissance was a period of decline from the High Middle Ages,
destroying much that was important.[10] The Latin language, for instance, had evolved
greatly from the classical period and was still a living language used in the church and
elsewhere. The Renaissance obsession with classical purity halted its further evolution
and saw Latin revert to its classical form. Robert S. Lopez has contended that it was a
period of deep economic recession.[53] Meanwhile George Sarton and Lynn Thorndike
have both argued that scientific progress was perhaps less original than has traditionally
been supposed.[54]

Historians have begun to consider the word Renaissance as unnecessarily loaded,

implying an unambiguously positive rebirth from the supposedly more primitive "Dark
Ages" (Middle Ages). Many historians now prefer to use the term "Early Modern" for
this period, a more neutral designation that highlights the period as a transitional one
between the Middle Ages and the modern era.[55]

Other Renaissances
The term Renaissance has also been used to define time periods outside of the 15th and
16th centuries. Charles H. Haskins (1870–1937), for example, made a convincing case
for a Renaissance of the 12th century.[56] Other historians have argued for a Carolingian
Renaissance in the eighth and ninth centuries, and still later for an Ottonian Renaissance
in the tenth century.[57] Other periods of cultural rebirth have also been termed
"renaissances", such as the Bengal Renaissance or the Harlem Renaissance.

References and sources

References and notes

1. ^ Renaissance, Online Etymology Dictionary

2. ^ BBC Science & Nature, Leonardo da Vinci (Retrieved on May 12, 2007)
3. ^ BBC History, Michelangelo (Retrieved on May 12, 2007)
4. ^ P. Burke, The European Renaissance: Centre and Peripheries (Blackwell, Oxford
1998)
5. ^ a b c Strathern, Paul The Medici: Godfathers of the Renaissance (2003)
6. ^ Encyclopedia Britannica, Renaissance, 2008, O.Ed.
7. ^ a b Michael H. Harris, History of Libraries in the Western World, Scarecrow Press
Incorporate, 1999, ISBN0810837242
8. ^ a b John Julius Norwich, A Short History of Byzantium, 1997, Knopf, ISBN0679450882
9. ^ a b c d J. Brotton, The Renaissance: A Very Short Introduction (OUP, 2006)
10. ^ a b Johan Huizinga, The Waning of the Middle Ages (1919, trans. 1924)
11. ^ a b c Randolph Starn, "Renaissance Redux" The American Historical Review Vol.103
No.1 p.124 (Subscription required for JSTOR link)
12. ^ The Idea of the Renaissance, Richard Hooker, Washington State University Website
(Retrieved on May 2, 2007)
13. ^ a b M. Perry, Humanities in the Western Tradition, Ch. 13
14. ^ a b c d Open University, Looking at the Renaissance: Religious Context in the
Renaissance (Retrieved on May 10, 2007)
15. ^ Open University, Looking at the Renaissance: Urban economy and government
(Retrieved May 15, 2007)
16. ^ Hugh Bibbs, The Islamic Foundation of the Renaissance, (Northwest and Pacific,
1999) (Retrieved on 10-05-2007)
17. ^ The Islamic World to 1600, University of Calgary Website (Retrieved on May 10,
2007)
18. ^ History of Medieval Mathematics University of South Australia Website (Retrieved on
May 10, 2007)
19. ^ History of the Renaissance, HistoryWorld (Retrieved on May 10, 2007)
20. ^ Julius Kirshner, "Family and Marriage: A socio-legal perspective" Italy in the Age of
the Renaissance: 1300-1550, ed. John M. Najemy (Oxford University Press, 2004) p.89
(Retrieved on 10-05-2007)
21. ^ Jacob Burckhardt, "The Revivial of Antiquity," The Civilization of the Renaissance in
Italy (trans. by S.G.C. Middlemore, 1878)
22. ^ a b Jacob Burckhardt, "The Republics: Venice and Florence," The Civilization of the
Renaissance in Italy (trans. by S.G.C. Middlemore, 1878)
23. ^ For more, see Barbara Tuchman's book, A Distant Mirror
24. ^ The End of Europe's Middle Ages: The Black Death University of Calgary website.
(Retrieved on 5 April 2007)
25. ^ a b Jacob Burckhardt, "The Development of the Individual," The Civilization of the
Renaissance in Italy (trans. by S.G.C. Middlemore, 1878)
26. ^ J. Stephens, "Individualism and the cult of creative personality", The Italian
Renaissance (New York, 1990) pp. 121
27. ^ As asserted by Gianozzo Manetti in On the Dignity and Excellence of Man. Cited in
Clare, J, Italian Renaissance.
28. ^ John D. Clare & Dr. Alan Millen, Italian Renaissance (London, 1994) p14
29. ^ David G. Stork, Optics and Realism in Renaissance Art (Retrieved on May 10, 2007)
30. ^ Giorgio Vasari, Lives of the Artists, trans. George Bull, Penguin Classics,(1965), ISBN
0-14-044-164-6
31. ^ Peter Brueghel Biography, Web Gallery of Art (Retrieved on May 10, 2007)
32. ^ Richard Hooker, Architecture and Public Space (Retrieved on May 10, 2007)
33. ^ Herbert Butterfield, The Origins of Modern Science, 1300-1800, p. viii
34. ^ Steven Shapin, The Scientific Revolution, (Chicago: Univ. of Chicago Pr., 1996), p. 1.
35. ^ a b c J. Brotton, "Science and Philosophy", The Renaissance: A Very Short Introduction
(OUP 2006)
36. ^ Catholic Encyclopedia, Western Schism (Retrieved on May 10, 2007)
37. ^ Catholic Encyclopedia, Alexander VI (Retrieved on May 10, 2007)
 38. ^ a b Erwin Panofsky, Renaissance and Renascences in Western Art, (New York: Harper
and Row, 1960)
39. ^ The Open University Guide to the Renaissance, Defining the Renaissance (Retrieved
on May 10, 2007)
40. ^ Philip Sohm, Style in the Art Theory of Early Modern Italy (Cambridge: Cambridge
University Press, 2001)
41. ^ a b Lóránt Czigány, A History of Hungarian Literature, "The Renaissance in Hungary"
(Retrieved on May 10, 2007)
42. ^ History of Poland on Polish Government's website (Retrieved on April 4-2007)
43. ^ For example, the re-establishment of Jagiellonian University in 1400.
44. ^ Review of Lewis Spitz, The Religious Renaissance of the German Humanists. Review
by Gerald Strauss, English Historical Review, Vol. 80, No. 314, p.156. Available on
JSTOR (subscription required).
45. ^ a b Paul Henry Láng, "The So Called Netherlands Schools," The Musical Quarterly, Vol.
25, No. 1. (Jan., 1939), pp. 48-59. (Subscription required for JSTOR link.)
46. ^ Painting in Oil in the Low Countries and Its Spread to Southern Europe, Metropolitan
Museum of Art website. (Retrieved April 5-2007)
47. ^ Defining the Renaissance, Open University
48. ^ Jules Michelet, History of France, trans. G. H. Smith (New York: D. Appleton, 1847)
49. ^ Jacob Burckhardt, The Civilization of the Renaissance in Italy (trans. S.G.C
Middlemore, London, 1878)
50. ^ Peter Gay, Style in History. (New York: Basic Books 1974).
51. ^ Savonarola's popularity is a prime example of the manifestation of such concerns.
Other examples include Phillip II of Spain's censorship of Florentine paintings, noted by
Edward L. Goldberg, "Spanish Values and Tuscan Painting", Renaissance Quarterly
(1998) p.914
52. ^ Renaissance Forum at Hull University, Autumn 1997 (Retrieved on 10-05-2007)
53. ^ Lopez, Robert S., and Miskimin, Harry A., 'The Economic Depression of the
Renaissance', Economic History Review, 2nd ser., 14 (1962), pp.408-26. Available on
JSTOR (subscription required)
54. ^ Thorndike, Lynn (1943) 'Renaissance or Prenaissance?' in "Some Remarks on the
Question of the Originality of the Renaissance", Journal of the History of Ideas Vol. 4,
No. 1, Jan. 1943. Available on JSTOR (subscription required)
55. ^ S. Greenblatt, Renaissance Self-Fashioning: From More to Shakespeare (University of
Chicago Press, 1980)
56. ^ Charles Homer Haskins. The Renaissance of the Twelfth Century. (Cambridge: Harvard
University Press, 1927).
57. ^ Jean Hubert. L’Empire Carolingien (English: The Carolingian Renaissance, Translated
by James Emmons (New York: G. Braziller, 1970).

Sources

• Brotton, Jerry, The Renaissance: A Very Short Introduction ISBN 0-19-280163-5

• Burckhardt, Jacob (1878), The Civilization of the Renaissance in Italy, trans
S.G.C Middlemore, republished in 1990 ISBN 0-14-044534-X
• Burke, P, The European Renaissance: Centre and Peripheries ISBN 0-631-
19845-8
• The Cambridge Modern History. Vol 1: The Renaissance (1902)
 • Cronin, Vincent (1967), The Florentine Renaissance, ISBN 0-00-211262-0;
(1969), The Flowering of the Renaissance, ISBN 0-7126-9884-1; (1992), The
Renaissance, ISBN 0-00-215411-0
• Ergang, Robert (1967), The Renaissance, ISBN 0-442-02319-7
• Ferguson, Wallace K.] (1962), Europe in Transition, 1300-1500, ISBN 0-04-
940008-8
• Haskins, Charles Homer (1927), The Renaissance of the Twelfth Century, ISBN 0-
674-76075-1
• Huizinga, Johan (1924), The Waning of the Middle Ages, republished in 1990
ISBN 0-14-013702-5
• Jensen, De Lamar (1992), Renaissance Europe, ISBN 0-395-88947-2
• Lopez, Robert S. (1952), Hard Times and Investment in Culture
• Strathern, Paul (2003), The Medici: Godfathers of the Renaissance, ISBN 1-844-
13098-3
• Stephens, John, The Italian Renaissance: The Origins of Intellectual and Artistic
Change before the Renaissance ISBN 0-582-49337-4
• Thorndike, Lynn (1943) 'Renaissance or Prenaissance?' in "Some Remarks on the
Question of the Originality of the Renaissance", Journal of the History of Ideas
Vol. 4, No. 1, Jan. 1943 (Subscription required for JSTOR link.)
• Weiss, Roberto (1969) The Renaissance Discovery of Classical Antiquity, ISBN
1-597-40150-1

See also
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• Ancient and Renaissance women by Dr. Deborah Vess
• Renaissance Style Guide. British Galleries. Victoria and Albert Museum.
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Mannerism
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In Parmigianino's Madonna with the Long Neck (1534-40), Mannerism makes itself
known by elongated proportions, affected poses, and unclear perspective.

Mannerism is a period of European painting, sculpture, architecture and decorative arts

lasting from the later years of the Italian High Renaissance around 1520 until the arrival
of the Baroque around 1600. Stylistically, it identifies a variety of individual approaches
influenced by, and reacting to, the harmonious ideals associated with Leonardo da Vinci,
Raphael, and early Michelangelo. Mannerism is notable for its intellectual as well as its
artificial (as opposed to naturalistic) qualities.

The term is also applied to some Late Gothic painters working in northern Europe from
about 1500 to 1530, especially the Antwerp Mannerists and some currents of
seventeenth-century literature, especially poetry.

Contents
[hide]

• 1 Nomenclature
o 1.1 Anti-Classical
o 1.2 Maniera
o 1.3 Mannerisms
• 2 History
o 2.1 Giorgio Vasari
o 2.2 Gian Paolo Lomazzo
• 3 Some mannerist examples
o 3.1 Jacopo da Pontormo
 o 3.2 Rosso Fiorentino
o 3.3 School of Fontainebleau
o 3.4 Agnolo Bronzino
o 3.5 Alessandro Allori
o 3.6 Jacopo Tintoretto
o 3.7 El Greco
o 3.8 Benvenuto Cellini
• 4 Mannerist architecture
• 5 Mannerism in literature and music
• 6 Notes

• 7 Further reading

[edit] Nomenclature
The word derives from the Italian maniera, or "style," which corresponds to an artist's
characteristic "touch" or recognizable "manner". Artificiality, as opposed to Renaissance
and Baroque naturalism, provides one of the common features of mannerist art. The
lasting influence of the Italian Renaissance, as transformed by succeeding generations of
artists, is another.

As a stylistic label, "Mannerism" is not easily pigeonholed. It was first popularized by

German art historians in the early twentieth-century to categorize the seemingly
uncategorizable art of the Italian sixteenth century—art that was no longer perceived to
exhibit the harmonious and rational approaches associated with the High Renaissance.

The term is applied differently to a variety of different artists and styles.

[edit] Anti-Classical

The early Mannerists—especially Jacopo da Pontormo and Rosso Fiorentino in Florence,

Raphael's student in Rome Giulio Romano and Parmigianino in Parma—are notable for
elongated forms, exaggerated, out-of-balance poses, manipulated irrational space, and
unnatural lighting. These artists matured under the influence of the High Renaissance,
and their style has been characterized as a reaction or exaggerated extension of it.
Therefore, this style is often identified as "anti-classical" mannerism.[1]
Late Mannerism: fountain by Giambologna's successor, Pietro Tacca, 1629 (Piazza
Santissima Annunziata, Florence)

[edit] Maniera

Subsequent mannerists stressed intellectual conceits and artistic ability, features that led
early critics to accuse them of working in an unnatural and affected "manner" (maniera).
These artists held their elder contemporary Michelangelo as their prime example. Giorgio
Vasari, as artist and architect, exemplifies this strain of Mannerism lasting from about
1530 to 1580. Based largely at courts and in intellectual circles around Europe, it is often
called the "stylish" style or the Maniera.[2]

[edit] Mannerisms

After 1580 in Italy, a new generation of artists, including the Carracci, Caravaggio and
Cigoli, reemphasized naturalism. Walter Friedlaender identified this period as "anti-
mannerism", just as the early mannerists were "anti-classical" in their reaction to the High
Renaissance.[3] Outside of Italy, however, mannerism continued into the seventeenth
century. Important centers include the court of Rudolf II in Prague, as well as Haarlem
and Antwerp.

Mannerism as a stylistic category is less frequently applied to English visual and

decorative arts, where local categories such as "Elizabethan" and "Jacobean" are more
common. Eighteenth-century Artisan Mannerism is one exception.[4]
Historically regarded, Mannerism is a useful designation for sixteenth-century art that
emphasizes artificiality over naturalism and reflects a growing self-consciousness of the
artist.

[edit] History
The early Mannerists are usually set in stark contrast to High Renaissance conventions;
the immediacy and balance achieved by Raphael's School of Athens, no longer seemed
relevant or appropriate. Mannerism developed among the pupils of two masters of the
classical approach, with Raphael's assistant Giulio Romano and among the students of
Andrea del Sarto, whose studio produced the quintessentially Mannerist painters
Pontormo and Rosso Fiorentino. Michelangelo displayed tendencies towards Mannerism,
notably in his vestibule to the Laurentian Library and the figures on his Medici tombs.

Mannerism at the English court: Henry Howard, Earl of Surrey, painted in 1546

Mannerist centers in Italy were Rome, Florence and Mantua. Venetian painting, in its
separate "school," pursued a separate course, represented in the long career of Titian.

In the mid to late 1500s Mannerism flourished at European courts, where it appealed to
knowledgeable audiences with its arcane iconographic programs and sense of an artistic
"personality". It reflects a growing trend in which a noticeable purpose of art was to
inspire awe and devotion, and to entertain and educate.
Giorgio Vasari, frontispiece to Lives of the Artists, 1568

[edit] Giorgio Vasari

Giorgio Vasari's opinions about the "art" of creating art come through in his praise of
fellow artists in the great book that lay behind this frontispiece: he believed that
excellence in painting demanded refinement, richness of invention (invenzione),
expressed through virtuoso technique (maniera), and wit and study that appeared in the
finished work, all criteria that emphasized the artist's intellect and the patron's sensibility.
The artist was now no longer just a craftsman member of a local Guild of St Luke. Now
he took his place at court with scholars, poets, and humanists, in a climate that fostered
an appreciation for elegance and complexity. The coat-of-arms of Vasari's Medici patrons
appear at the top of his portrait, quite as if they were the artist's own.

The framing of the engraved frontispiece to Mannerist artist Giorgio Vasari's Lives of the
Artists (illustration, left) would be called "Jacobean" in an English-speaking context. In
it, Michelangelo's Medici tombs inspire the anti-architectural "architectural" features at
the top, the papery pierced frame, the satyr nudes at the base. In the vignette of Florence
at the base, papery or vellum-like material is cut and stretched and scrolled into a
cartouche (cartoccia). The design is self-conscious, overcharged with rich, artificially
"natural" detail in physically improbable juxtapositions of jarring scale changes,
overwhelming as a mere frame: Mannerist.

[edit] Gian Paolo Lomazzo

Another literary source from the period is Gian Paolo Lomazzo, who produced two works
—one practical and one metaphysical—that helped define the Mannerist artist's self-
conscious relation to his art. His Trattato dell'arte della pittura, scoltura et architettura
(Milan, 1584) is in part a guide to contemporary concepts of decorum, which the
Renaissance inherited in part from Antiquity but Mannerism elaborated upon. Lomazzo's
systematic codification of esthetics, which typifies the more formalized and academic
approaches typical of the later 16th century, controlled a consonance between the
functions of interiors and the kinds of painted and sculpted decors that would be suitable.
Iconography, often convoluted and abstruse, is a more prominent element in the
Mannerist styles. His less practical and more metaphysical Idea del tempio della pittura
("The ideal temple of painting", Milan, 1590) offers a description along the lines of the
"four temperaments" theory of the human nature and personality, containing the
explanations of the role of individuality in judgment and artistic invention.

[edit] Some mannerist examples

Mannerist portraits by Bronzino are distinguished by chilly elegance, perfunctory

realism, and meticulous attention to detail.

[edit] Jacopo da Pontormo

Jacopo da Pontormo's Joseph in Egypt stood in what would have been considered
contradicting colors and disunified time and space in the Renaissance. Neither the
clothing, nor the buildings— not even the colors— accurately represented the Bible story
of Joseph. It was wrong, but it stood out as an accurate representation of society's
feelings.

[edit] Rosso Fiorentino

Rosso Fiorentino, who had been a fellow-pupil of Pontormo in the studio of Andrea del
Sarto, brought Florentine mannerism to Fontainebleau in 1530, where he became one of
the founders of the French 16th century Mannerism called the "School of Fontainebleau".

[edit] School of Fontainebleau

The examples of a rich and hectic decorative style at Fontainebleau transferred the Italian
style, through the medium of engravings, to Antwerp and thence throughout Northern
Europe, from London to Poland, and brought Mannerist design into luxury goods like
silver and carved furniture. A sense of tense controlled emotion expressed in elaborate
symbolism and allegory, and elongated proportions of female beauty are characteristics
of his style.

[edit] Agnolo Bronzino

Alessandro Allori, Susanna and the elders

Agnolo Bronzino's somewhat icy portraits (illustrated, to the left) put an

uncommunicative abyss between sitter and viewer, concentrating on rendering of the
precise pattern and sheen of rich textiles.

[edit] Alessandro Allori

Alessandro Allori's (1535 - 1607) Susanna and the Elders (illustrated, right) uses
artificial, waxy eroticism and consciously brilliant still life detail, in a crowded contorted
composition.

[edit] Jacopo Tintoretto

Jacopo Tintoretto's Last Supper (left) epitomizes Mannerism by taking Jesus and the table
out of the middle of the room.

Tintoretto, Last Supper

He showed all that was happening. In sickly, disorienting colors he painted a scene of
confusion that somehow separated the angels from the real world. He had removed the
world from God's reach.

[edit] El Greco

Baptism, by El Greco

Town Hall of Zamość by Bernardo Morando

El Greco attempted to express the religious tension with exaggerated Mannerism. This
exaggeration would serve to cross over the Mannerist line and be applied to Classicism.
After the realistic depiction of the human form and the mastery of perspective achieved in
high Renaissance Classicism, some artists started to deliberately distort proportions in
disjointed, irrational space for emotional and artistic effect. There are aspects of
Mannerism in El Greco (illustration, right), such as the jarring "acid" color sense,
elongated and tortured anatomy, irrational perspective and light of his crowded
composition, and obscure and troubling iconography.

[edit] Benvenuto Cellini

Benvenuto Cellini created a salt cellar of gold and ebony in 1540 featuring Poseidon and
Amphitrite (earth and water) in elongated form and uncomfortable positions. It is
considered a masterpiece of Mannerist sculpture.
[edit] Mannerist architecture

The porphyry portal of the "church house" at Colditz Castle, Saxony, designed by
Andreas Walther II (1584), is a clear example of the exuberance of "Antwerp
Mannerism".

An example of mannerist architecture is the Villa Farnese at Caprarola in the rugged

country side outside of Rome. The proliferation of engravers during the 16th century
spread Mannerist styles more quickly than any previous styles. A center of Mannerist
design was Antwerp during its 16th century boom. Through Antwerp, Renaissance and
Mannerist styles were widely introduced in England, Germany, and northern and eastern
Europe in general. Dense with ornament of "Roman" detailing, the display doorway at
Colditz Castle (illustration, left) exemplifies this northern style, characteristically applied
as an isolated "set piece" against unpretentious vernacular walling.

[edit] Mannerism in literature and music

Main article: Metaphysical poets
Main article: Ars subtilior

In English literature, Mannerism is commonly identified with the qualities of the

"Metaphysical" poets of whom the most famous is John Donne. The witty sally of a
Baroque writer, John Dryden, against the verse of Donne in the previous generation,
affords a concise contrast between Baroque and Mannerist aims in the arts:

"He affects the metaphysics, not only in his satires, but in his amorous verses,
where nature only should reign; and perplexes the minds of the fair sex with nice[5]
speculations of philosophy when he should engage their hearts and entertain
them with the softnesses of love" (italics added).

The word Mannerism has also been used to describe the style of highly florid and
contrapuntally complex polyphonic music made in France in the late 14th century. This
period is now usually referred to as the ars subtilior.
[edit] Notes
1. ^ W. Friedlaender, Mannerism and Anti-Mannerism in Italian Painting, New
York, 1957.
2. ^ John Shearman, Mannerism, Harmondsworth, 1967
3. ^ W. Friedlaender, Mannerism and Anti-Mannerism in Italian Painting, New
York, 1957.
4. ^ John Summerson, Architecture in Britain, New York, 1983, pp. 157-72.
5. ^ 'Nice' in the sense of 'finely reasoned.'

[edit] Further reading

Wikimedia Commons has media related to:

Mannerism

• John Shearman, 1967. Mannerism A classic summation.

• Franzsepp Würtenberger, 1963. Mannerism: The European Style of the Sixteenth
Century (Originally published in German, 1962).
• Giuliano Briganti, 1962. Italian Mannerism (Originally published in Italian,
1961).
• Wylie Sypher, Four Stages of Renaissance Style: Transformations in Art and
Literature, 1400-1700, 1955. A classic analysis of Renaissance, Mannerism,
Baroque, and Late Baroque.
• Helen Gardner, Metaphysical Poets, Selected and Edited. Introduction.
• Essays on High Renaissance art and Mannerism by John Haber.

El Greco

General: The Artist | Chronology | Technique and style | Posthumous fame | Cretan School |
Spanish Renaissance | Mannerism

Paintings: List of notable works | The Dormition of the Virgin | The Disrobing of Christ (El
Espolio) | The Burial of the Count of Orgaz | View of Toledo | Opening of the Fifth Seal | The
Adoration of the Shepherds
[hide]
v•d•e

Western art movements by century

 International Gothic - Renaissance (Early) (14th) · Mannerism (16th) ·
14th to 18th century
Baroque (17th) · Rococo - Neoclassicism - Romanticism (18th)
Realism · Pre-Raphaelites · Academic · Impressionism · Post-
Impressionism · Neo-impressionism · Chromoluminarism ·
19th century
Pointillism · Cloisonnism · Les Nabis · Synthetism · Symbolism ·
Hudson River School
Modernism · Cubism · Expressionism · Abstract expressionism ·
Abstract · Neue Künstlervereinigung München · Der Blaue Reiter ·
Die Brücke · Dada · Fauvism · Art Nouveau · Bauhaus · De Stijl · Art
Deco · Pop art · Futurism · Suprematism · Surrealism · Color Field ·
20th century
Minimalism · Installation art · Lyrical Abstraction · Postmodernism ·
Conceptual art · Land art · Performance art · Video art · Neo-
expressionism · Outsider Art · Lowbrow · New media art · Young
British Artists · Stuckism · Systems art
21st century Relational art · Videogame art
Retrieved from "http://en.wikipedia.org/wiki/Mannerism"
Categories: Mannerism | Architectural styles

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